Sullivan Fortner Moments Preserved

Sullivan Fortner
Moments Preserved
Impulse

I was aware of pianist Sullivan Fortner from recorded accompaniments to vocalist Cécile McLorin Salvant. The New Orleans-bred pianist and composer has a gem of a new recording that certainly should delight many. With a career that has already had him playing with Ms. Salvant, as well as Roberta Gambarini; trumpeters Roy Hargrove (in whose band he was in for 8 years), Etienne Charles, and Ambrose Akinmusire; and guitarists John Scofield and Peter Bernstein, he sparkles on this recording with a trio that includes bassist Ameen Saleem (who played with him in Hargrove's band for seven years) and drummer Jeremy "Bean" Clemons. It also includes a couple of numbers with Hargrove.

There is a range of material including standards, imaginative interpretations of themes from television shows and poignant originals, starting with the lively rendition of "Changing Keys," the theme of TV's "Wheel of Fortune." Fortner's touch, inventiveness and his articulation might suggest Barry Harris who he studied with, but he is no Harris clone. He also benefits from the splendid rhythm section. Bud Powell's influence, through Barry Harris' mentoring, is evident on Fortner's original "Pep Talk," that also places the spotlight on Saleem and Clemons. "Elegy For Clyde Kerr" is an alluring ballad that was dedicated to the late New Orleans trumpeter and educator. Fortner's thoughtful, restrained playing is complemented by the rhythm. Bassist Saleem composed and kicks off "Beans and Cornbread," with its jaunty melody, Fortner's spirited playing and Saleem's own strongly played solo.

Roy Hargrove, on flugelhorn, joins the ensemble for a hauntingly lovely rendition of Elmo Hope's ballad, "Eyes So Beautiful As Yours," followed an exquisite reading of Duke Ellington's "In a Sentimental Mood." Fortner's original "Barbara's Strut," displays echoes of Monk and Bud Powell. He follows it with a dazzling, Tatum-esque rendition of "Just in Time." Saleem and Clemons both also are featured on this breakneck performance. Then Fortner takes us to the Caribbean with the jubilantly performed calypso, New Port," followed by his solo impressionistic interpretation of Earth Wind & Fire's "Fantasy," with his mix of cascading passages and dissonance.

Other performances include a marvelous duet with Roy Hargrove "Monk Medley" which was comprised of Monk's "Ask Me Now" and "Monk's Mood." Fortner's beautiful solo rendition of a traditional gospel hymn, "The Solid Rock," also displays his taste as well as technique. It is another wonderful performance on a terrific recording.

I received a download to review from a publicist. I have made some minor stylistic edits to the review that originally appeared in the September-October 2018 Jazz & Blues Report (Issue 380). Here is a performance of him at Blues Alley in Washington DC for "Beyond Category with Eric Felton."

Madeleine Peyroux Secular Hymns

Madeleine Peyroux
Secular Hymns
Impulse

Recorded in a small church in the Oxfordshire countryside of England, Madeleine Peyroux's new album "Secular Hymns" is a collection of secular songs she describes "that are very individual, personal, introverted." Accompanied by her touring band-mates of the last two years -electric guitarist Jon Herington and upright bassist Barak Mori, she revisits tunes by seminal blues artists Willie Dixon and Lil Green, classic gospel singer Sister Rosetta Tharpe, dub reggae innovator Linton Kwesi Johnson, contemporary craftsmen Tom Waits, Townes Van Zandt, Allen Toussaint, 19th century American giant Stephen Foster, and an early African-American spiritual.

She has certainly evolved from being a Billie Holiday imitator first with a low-key introverted take on a R&B classic "Got You on My Mind," followed by a bit more melodramatic attack on Tom Waits' "Tango Till They're Sore," with Herington's guitar and Mori's Arco bass adding to the drama of the performance. Townes Van Zandt's "The Highway Kind" is a more reflective tune with Herington more in a folk guitar mode, while Allen Toussaint's "Everything I Do Is Gonna Be Funky" benefits from the swampy-sounding backing.

The varied repertoire includes Stephen Foster's lament, "Hard Times Come Again No More", the playful Lil Green blues "Hello Babe," the reggae groove of Linton Kwesi Johnson's "More Time" with its lyrics of wanting more time for pleasure and leisure if things are really getting better, a spritely rendition of one of Sister Rosetta Tharpe's most famous songs, "Shout Sister Shout," before this unusual collection of mostly contemporary songs closes with a traditional spiritual "Tampin." It is a lovely performance that ends this very charming recording that displays Peyroux has become s singer of considerable appeal with the splendid support of her band-mates.

I received a download for review purposes from a publicist. This review originally appeared in the November-December 2016 Jazz & Blues Report (Issue 369). There have been a few stylistic edits made to that review. Here is a sample of this recording.
 

John Scofield Country For Old Men

John Scofield
Country For Old Men
Impulse

This new release by John Scofield has him reinvestigating his country/folk roots alongside accomplished colleagues Steve Swallow, Larry Goldings and Bill Stewart. It is a homage to such greats as George Jones, Dolly Parton, Merle Haggard, James Taylor and Hank Williams among others, with some songs evoking a classic honky tonk feel like the opening rendition of a George Jones classic "Mr. Fool," with Scofield's twang and use of sustain set against Goldings' country-flavored piano and a simple rhythm groove while a few others taking a different tack as the transformation of Hank Williams' lament. "I'm So Lonesome I Could Cry," into a rollicking roadhouse stomp and almost a mash up with Jay McShann's "Jumpin' the Blues," on a stunning performance with some fiery playing in his improvisation.

There is the restrained rendition of James Taylor's "Bartender's Blues," the percolating groove over a spirited "Wildwood Flower," and a sober "Wayfaring Stranger." The sparkling flavor of the interpretation of Merle Haggard's "Mama Tried," contrasts the bluesy flavor of the rendition of Dolly Parton's "Jolene." Other treats include the Bob Wills' classic ballad "Faded Love," and the classic "Red River Valley," transformed into a rocking organ-guitar feature with some of Scofield's most inventive improvisation. A brief, acoustic statement of the theme of "I'm an Old Cowhand," serves to end a most appealing album of jazz renditions of classic country tunes.

I received a download to review from publicist. Here is John Scofield performing the country classic that was redone by Ray Charles, "You Don't Know Me."